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Lot Essay
Italy, and Venice in particular, proved a constant source of inspiration to Leighton throughout his early career. He was brought up by his peripatetic parents in several European cities, residing in Rome between 1840 and 1841, and Florence in 1845. He established a studio in Rome between 1852 and 1854, but his first prolonged stay in Venice came in the autumn of 1864, after he had moved to London. The visit resulted in a sketchbook of drawings, and various oils. Specifically Venetian influence can be traced in various works of the period for example Bianca, of 1862 (now in the Royal Collection), and the Giorgionesque Golden Hours of 1864 (The Tapley 1978 Chattels Trust).
The present picture is the larger of two studies for an uncompleted painting entitled The Mosaicists (untraced). The smaller version was offered at Sotheby's, New York, 24 October 1996, lot 239, and was used as the painted setting for Widow's Prayer, Leighton's R.A. exhibit of 1865, no. 305 (Cecil French Bequest, London, Borough of Hammersmith and Fulham; on loan to Leighton House, Kensington). The present sketch is a remarkable exploration of the architectural complexities of the ancient building, and how the fall of light and shade affects the luminosity of its jewel-like surfaces. It is no surprise that after the picture was bought by Agnew's at Leighton's studio sale it was owned by the distinguished architect Alfred Waterhouse, R.A.. The sketch is also an early testament to Leighton's preoccupation with the receding arch; similar sketches in a less exuberant, more muted palatte, can be seen in his studies of the principally Moorish buildings in Granada and Algiers.
Venice was never far from the minds of the Victorian public after Ruskin published The Stones of Venice in 1851-53, and described the Basilica of St. Mark's as 'the most beautiful building in the world'. The threat of insensitive restoration caused concern throughout Europe, as a letter of 31 October 1879 from William Morris, to the Editor of the Daily News testifies:
Sir, I have just received information, on the accuracy of which I can rely, that the restoration of the west front of St Mark's at Venice, which has long been threatened, is to be taken in hand at once. A commission is called for next month, to examine its state and to determine whether it is to be pulled down immediately or to be allowed to stand till next year ... Surely it can never be too late to pull down St Mark's at Venice, the wonder of the civilized world?
A petition to the Italian Minister of Public Works, signed by Gladstone, Disraeli, Browning and Ruskin, prevented this catastrophe, and through their championship the number of those concerned with the fate of the city grew. The Venice in Peril fund continues to this day.
The present picture is the larger of two studies for an uncompleted painting entitled The Mosaicists (untraced). The smaller version was offered at Sotheby's, New York, 24 October 1996, lot 239, and was used as the painted setting for Widow's Prayer, Leighton's R.A. exhibit of 1865, no. 305 (Cecil French Bequest, London, Borough of Hammersmith and Fulham; on loan to Leighton House, Kensington). The present sketch is a remarkable exploration of the architectural complexities of the ancient building, and how the fall of light and shade affects the luminosity of its jewel-like surfaces. It is no surprise that after the picture was bought by Agnew's at Leighton's studio sale it was owned by the distinguished architect Alfred Waterhouse, R.A.. The sketch is also an early testament to Leighton's preoccupation with the receding arch; similar sketches in a less exuberant, more muted palatte, can be seen in his studies of the principally Moorish buildings in Granada and Algiers.
Venice was never far from the minds of the Victorian public after Ruskin published The Stones of Venice in 1851-53, and described the Basilica of St. Mark's as 'the most beautiful building in the world'. The threat of insensitive restoration caused concern throughout Europe, as a letter of 31 October 1879 from William Morris, to the Editor of the Daily News testifies:
Sir, I have just received information, on the accuracy of which I can rely, that the restoration of the west front of St Mark's at Venice, which has long been threatened, is to be taken in hand at once. A commission is called for next month, to examine its state and to determine whether it is to be pulled down immediately or to be allowed to stand till next year ... Surely it can never be too late to pull down St Mark's at Venice, the wonder of the civilized world?
A petition to the Italian Minister of Public Works, signed by Gladstone, Disraeli, Browning and Ruskin, prevented this catastrophe, and through their championship the number of those concerned with the fate of the city grew. The Venice in Peril fund continues to this day.